Keygram Track 1

Chordogram Track 1

Comments Track 1

In the prompts I asked the AI music generators to compose a piece in D major. Looking at the keygram of track 1, the darkest lines correspond to the keys of D major, D minor and A major. D minor is the parallel minor of D major. Because of the centricity of the tone D within both scales, it is not odd that D minor seems prominent in the keygram. The prominence of A major can also be explained, because of its neighboring position to D major in the circle of fifths. The two keys have six corresponding notes and the tone A (as well as the A major chord) has an important function as dominant in the scale of D major.

Looking at the chordogram of track 1, the darkest spots appear at the following chords: D major, A major, G major, B minor and F# minor. These are the tonic, dominant, subdominant, submediant and mediant of the D major scale respectively. The chords are, thus, all diatonic chords and their appearance in the piece are not surprising. Two other remarkable lines are those of D minor and G minor. These two chords appear in the D minor scale, which explains - together with the understanding that this is the parallel minor of D major - why they appear in the chordogram as well.

Keygram Track 1

Chordogram Track 1

Comments Track 1

In the prompts I asked the AI music generators to compose a piece in D major. Other than track 1, track 2 does not seem to be in D major. The D major line is light and instead the lines of C major and A major seem to be the darkest and, thus, the most prominent. However, another line that is remarkable is that of A minor, which is not the darkest, but it is on the darker side throughout the whole track. Between 50-100s more importance seems to be given to C major and between 110-160s this seems to shift to A major. A minor can in this sense be seen as the bridge between both scales: C major is its relative major key and A major is its parallel major key. Although the track is not in D major, the other three scales seem to work together (through modulation) to create the tonal space in this track.

Looking at the chordogram of track 2, the chord progression seems to show modulations as well. 0-50s puts the most emphasis on the A minor chord. A major and A7 is also apparent, likely because of the centricity of the tone A. 50-110s shows a shift to the C major, C minor, F minor chords (perhaps then not a shift to the key of C major, but to the key of C minor?), in which the A major line suddenly gets very bright compared to the former section (the chord is unlikely to appear in this section). 110-130s shows a shift again, emphasizing the chords of A major , A minor, F minor and D minor - a seemingly combination of the A major and A minor key. After 130s, the F minor chord dissapears again, which puts a bigger emphasis on the A minor and D minor chords. With these chords, the track seems to end in the A minor key.